Sunday, September 15, 2002

'CATS' (Playhouse Square Center)

'CATS' claws its way back into Allen Theatre

What more can be said about the musical CATS? The records just keep piling up. CATS is the longest continuously running touring show in U.S. history. It is the longest running music ever in both London, where it is still running, and in New York, where it opened in 1981 and closed on September 10, 2000. It has been presented in 26 countries and over 300 cities and has been translated into 10 languages. But, there may be some new facts to share: the set of CATS consists of 2,500 oversized props, three writers tried to set words to the music for the show’s biggest hit song, “Memory” before Trevor Nunn (the show’s director) wrote the lyrics himself. “Memory” has been recorded by over 150 artists, from Barbra Streisand to Johnny Mathis to Liberace. Barry Manilow’s rendition was a Top 40 hit. The play generated the most jobs in Broadway history. It also generated over $3.12 billion into New York’s economy during its run. Also, did you know that for the Broadway opening, the Winter Garden Theatre was gutted and the roof replaced to accommodate the trip of Grizabela, who sings “Memory” to the Heaviside Layer to be reborn?

The show, which is based on T. S. Eliot’s Old Possum’s Book of Practical Cats, and has music by Andrew Lloyd Webber, has been called “purrfection.” It is credited with being a “marvelous accomplishment.” It won seven 1983 Tony Awards including Best Musical, Best book of a Musical, Best Lighting and Best Costumes.

CATS seems to be the kind of musical that people absolutely love or hate. I don’t quite hate it, but put me in the “I’d rather see a musical with a plot that has more than one hit song” category. That’s not to say that I didn’t find the production appearing on the stage of Allen Theatre in Playhouse Square entertaining, I did. I just don’t see what all the fuss is about. I don’t think CATS compares with WEST SIDE STORY, CHORUS LINE, FIDDLER ON THE ROOF, MY FAIR LADY, or CAROUSEL as a great musical. Yes, the costumes are fun. The idea of cats clawing their way around the theatre and playing with the patrons is cute. And, “Memory” is a great song, in fact, probably one of musical theatre’s greatest songs. But, does the show deserve all the accolades? I say, “nope.”

The touring production does the script it’s service. Though they lack some of the intensity of previous productions, the human felines generally are catlike in their actions. The voices are excellent. The sets and costumes are as good as touring shows get.

Capsule judgement: The show was advertised as a format for a whole new generation of theatre-goers to experience the show. By the audience at opening night, the ads keyed in on the right group. The theatre was filled with youngsters. And, yes, the did get an experience. They squealed with delight when a cat sat on the arm of their chairs, they petted the animals when they leaned toward them. One adorable little girl who was very dressed up in her best pink and white dress who was sitting next to me kept up a running commentary comparing the live version to the video she has at home. She was favorably impressed with seeing the show in person. What more can be asked for?

Dr. Roy Berko

Roy Berko is a member of The Cleveland Critics Circle, The American Critics Association and Dance Critics Association. In 2013 he was selected as the Top Midwest Editor/Reviewer by BroadwayWorld.com. He is a college professor of communication, theatre and psychology, author of thirty-eight books, and a consultant. He is a certified Life Coach, Reiki practitioner, and a nationally certified Hypnotherapist. Roy has been granted Diplomate Status in the area of Professional Counseling by the International Academy of Behavioral Medicine, Counseling and Psychotherapy. He was elected to membership on the Elyria (Ohio) Board of Education and served as its President. He was selected by the Charles F. Brush High School (South Euclid-Lyndhurst, OH) Alumni Association to be inducted into the school's Wall of Achievement. His reviews and commentaries can be found on BroadwayWorld.com, CoolCleveland.com, posted on www.royberko.info, theatercriticism.com and mailed directly to a large list of subscribers via Mailchimp. To contact Roy email him at drberko@yahoo.com.

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Every reviewer has a philosophy that he or she carries into the entertainment venue. I perceive theatre and dance as educational tools. The creator has something to say. He or she conceives the work to represent that message. Since the arts represent the era from which they come, often the message centers on a reflection of the society at the time. Sometimes the conceiver wants to purely entertain, with no message for the audience to carry out of the performance. Whatever the goal, I think it is my obligation as a reviewer/critic to evaluate whether the writer or choreographer succeeded in developing a clear message.
From the standpoint of the production the major question is whether the director brought forth the intent and purpose of the creator of the manuscript or dance. Do the actors and/or dancers clearly develop their roles with proficiency? Do the technical aspects aid in creating the proper illusions?
I also feel it is my responsibility to explain such things as the background of the writer or dance creator, how the audience reacted during and after the performance, what other factors will help the reader understand the background of the material, and why I commented as I did.
One of the challenges of being a critic is realizing that no one likes to be negatively evaluated. Unfortunately, when one actively participates in a theatrical or dance performance activity, whether on-stage or backstage, her/his work becomes open to commentary. In doing that commentary, I try to be honest, explain why I reacted as I did, and stay open to the concept that reviewing, itself, is an art form, not a science.

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